Paris - When It Sizzles

Alright, maybe. If he promises it's
just lunch and that's absolutely all.

He promises. Unless she can think of
something she'd like to do after.

- Which she won't!
- Seren... Alright, then.

He hails a horse and carriage and
they go off to the Bois. Settled?

Settled. And now I suppose
we ought to write it.

Not at all.
The audience is ahead of us.

They've known she'll have lunch
with him for an hour.

But how do we get from the square
through the charm and serendipity
you do so brilliantly?

In motion pictures
we have a simple device

which takes care of
exactly this situation. The dissolve.

Over the years,
the audience has been conditioned

to understand
that when a scene fades away,

like an old soldier,
before their very eyes,

and another scene gradually appears
to take its place,

a certain amount of time has elapsed.
So, Miss Simpson,

we dissolve...
We dissolve slowly
and lingeringly...

:35:59 the Bois.
A hansom cab
bearing our handsome couple

clippety-clops its way
past waterfalls and trees

toward a magnificent restaurant.
Notice, Miss Simpson,
how cleverly I play

our suspense-filled melodrama
against a background

of holiday serendipity
in "gay Paris".

We will spare the audience
the pages of dreary small talk,

and get to the heart of the matter
by the simple use of the device
I've just explained, the dissolve.

Who are you? What do you do?
Who am I and what do I do?
I'm nobody

and I've done everything
and nothing.

Driven racing cars,
white hunter for a while,

piano player in a rather curious
establishment in Buenos Aires.

This and that,
everything and nothing.